LABERTE, MARCBorn at Mirecourt, 1880. Director of the expansive Laberte-Humbert Freres firm. Youth and activity, and a passionate desire to emulate and copy the Cremonese, acted as a spur to conquer the difficulties. Realisation of successful results (totally different from the several hazardous imitations of Mirecourt predecessors) necessitated the possession of valuable masterpieces. Spent two years assembling impeccable specimens of Stradivarius (1702), Guarnerius (1736), Amati (1650), Ruggerius (1690), Guadagnini (1755), Stainer, Gagliano, Testore and others. Undertook the delicate procedure of temporary dissecting these characteristic specimens. Then came the question of choice of woods, so made it essential and indispensable to search for old material seasoned by nature and the open air, having such qualities as to avoid any artificial preparation to obtain resonant mellowness such as practised by some of his predecessors. Compounded a warm and transparent varnish, favourably comparing with the Cremonese. By persistent effort and astonishing conception he then brought out his imitative revelations wondrous replications of the original contours and varnishes, also a definite charm of variegated tonal qualities. Likewise built ’cellos from a Joseph Guarnerius (1713), certain specimens attracting the attention of French virtuosi.
--------------------------
Fait sous la Direction
de
Marc Laberte
Maitre Luthier
Mirecourt France
(Vosges) No. . .
--------------------------
(with two designs of violins)
--------------------------
Copie exacte de mon
Stradivarius 1702
Marc Laberte
No. 88 1922.
--------------------------
(written)
-------------------------------
D’apres mes Stradivarius
1677-1702-1720.
--------------------
Marc Lamberte.
No. XXXX
--------------------------------
(written)
Also bows stamped “Laberte” - fifty shillings.

LABERTE-HUMBERT FRERESFounded at Mirecourt, 1780, by an ancestor of Marc Laberte. Later expanded by Maurice Emile Laberte (1856-1898). Subsequently united with other firms and advanced to great magnitude, 1920. Owners of the Nicholas, Derazey and other brands. Production of all Italian and French models, violins up to contra-basses. Every conceivable shade of varnish. Everything consistently excellent according to its grade.
----------------------------------------------------
Laberte Humbert Freres.
1922. Mirecourt. No. 850.
Exposition Internationelle. Bruxelles 1910.
Grand Prix.
-----------------------------------------------------
---------------------------------------------
Perfectionne par la Barre l’Harmonie
rationelle. Brevete de L.H.F
---------------------------------------------
With “L.H.F.” in a circle branded in centre of belly.
Also V.J.C.M. branded each side of bass bar.
BLc. S.G.D.G.
Further extension by amalgamation with the Fourier-Magnie Firm, 1925. (See this name.)
All instruments marked “Lutherie d’Art, L.F.M.”

LAFLEUR, JACQUESBorn at Nancy, 1757. Went to Paris, 1780. Established the “Alliance Musicale” (publishing of works for Dance and Casino bands). Subsequently engaged a staff of workmen for instrument making. Died of cholera, 1833. Personal work consisted principally of bow making. Outstandingly fine imitations of the Tourte, and so finely balanced, etc., as to frequently pass for origihal Tourtes. Seldom stamped with his own name. Several violins also bear his name, usually red varnish, very similar to the early productions of Vuillaume, catalogued at £15. ’Cellos of medium arching, brownish yellow varnish, typically French tone. £30. (Bows).

LAFLEUR, JOSEPH RENÉBorn 1812. Son of Jacques. Died 1874. Carried on the traditions of father’s firm. Violinist in early youth, subsequently assisted in the making of instruments, finally, trained his hand and eye to the production of superlatively fine bows for solo players. Bows that splendidly preserve the style of Tourte, second only to the original genius. £20. (Bows).

LAIDLAW, JOHN WILLIAMBorn at Haggerston (Northumberland), 1864. Resident at Newcastle, 1924. Guarnerian modelling with a few tiny originalities. Edges unusually broad, with a strong purfled bead, an innovation supposed to help the carrying power of the tone. Oil varnish of own preparation generally reddish orange, occasionally golden brown. Workmanship satisfactorily accurate. Scroll rather too heavy looking, but well carved. Tonal quality of reasonable resonance and entirely free from harshness.
--------------------------------
John W. Laidlaw
East Boldon
Newcastle-on-Tyne, 1922
--------------------------------

LAMBERTName of a fairly prolific family of makers working at Val d’Ajol (Vosges, France). Made all kinds of stringed instruments.

LAMBERTWorked with James Brown in Spitalfields, London, 1824-1860. Flattish model yet there is a kind of ugly bulginess. Straight sound-holes uncouthly cut. Medium grain belly wood, not much figure in wood for backs. Bold scroll of rather rough workmanship. Dark brown varnish. Branded “Lambert” in very small capitals at the top of back.

LAMBERT, JEAN NICOLASWorked at Paris, 1731-1785. Style somewhat similar to the Guersan. Smallish model and flattish arching. Occasionally a model of larger proportions, sometimes even heavy-looking. Best specimens (smaller ones), have the requisite amount of consideration and accuracy always attainable by the man who employs the mind as well as hand. Cutting of sound-holes perhaps less satisfactory. Brownish yellow varnish. Often handsome slab backs. To be regarded as the normal type produced by the old French makers. £20 not an unprofitable investment (1925). Labels quite gorgeous affairs, wording being surrounded by a rich arabesque scroll, further ornamented with a lute and violin and emphasised by a plain border.
--------------------------
J. N. Lambert
rue Michel-le-Comte
A Paris. 1745
--------------------------
-----------------
Lambert
à Paris. 1783
-----------------
Sometimes branded “Lambert à Paris” in various places, but mostly on the back, inside. £35, 1960.

LAMY, ALFREDSon, pupil and successor of A.J. Worked at Mirecourt. Died 1944. Replicas of the fine bows of father. Stamped “A. Lamy. Paris”. £15, 1960.

LAMY, ALFRED JOSEPHBorn at Mirecourt, 1850. Worked for Gautrot at Chateau-Thierry, 1866-1877, and for Voirin at Paris. Opened own atelier in the Rue Poissonniere, 1885. Died 1919. Conscientious workman, incontestably skilful in refinement, but his bows sometimes fall short of perfect equilibrium and elasticity. Stamped “A. Lamy a Paris” or “A. Lamy”. £20, 1960.

LAMY, LOUISBorn 1870. Pupil of Cuniot. Worked at Mirecourt. Died 1922. Excellent bows of various grades. £10 to £20, 1960.

LANDOLPHI, CARLO FERDINANDOWorked at Milan, 1734-1787. Beauty of workmanship, as well as the material of his violins, cannot come into competition with some others of the Italian school, although there are a few specimens having fair claims to be placed on something of an equality, surpassing them in some things if in others they fall short. The instruments (varnished in a brilliantly transparent but thickly spread orange red) both for beauty of proportion and tone, are admitted to be really splendid; but those having a thin and hard yellow varnish cannot be said to afford the same pleasure. It is a matter of surprise and regret that his work is so unequal, and experts have found a difficulty in reconciling the variableness between degeneracy and perfection. So obvious is this that some writers have believed there were two makers of the same name. The fact that he had to make a living, and consequently was forced to accept what he could get from his prospective purchasers admits of no controversy. And this is the only reason for much of his later work being scampered. Good acoustical wood, invariably grateful for the eye, though it may be sometimes somewhat plain. Occasionally the ribs and backs are f that material showing the so-called nutmeg slots and pine of broadly even grain for tables. General outline, patterned on broad principles, has a certain character of originality particularly in the rather full yet not over pronounced arching of a really fine gradient. Careful scrutiny will find that the middle bouts are long and deeply cut, thus giving the lower part a spread out appearance which, in its turn, makes the upper part look narrower than actually. Weakness (far too common) lies in the scroll, which always falls a long way short of perfection, though there is unmistakeable individuality. Weak looking and indifferently cut sound-holes, set widely apart and not always accurately or uniformly positioned. Frequently one coat of varnish satisfied him. Did not bother much with the purfling, some specimens have none at all, others inlaid with ivory. Nevertheless, his violins find considerable sale. Tone never absolutely without some fair quality of warmth, although that of the yellow varnished ones sounds as if it were muffled by a piece of muslin; but on the other hand, there are just a few lucky purchasers of the red varnished ones who perhaps have justification for thinking that they own instruments in which there are several points of distinction. Some specimens have Joseph Guarnerius labels. Some writers have reputed him to be a pupil of the great man, but certainty on this point has never been established. Other superficial connoisseurs claim that the Landolphi resembles (though not minutely) the Guarnerius. Quite a good number of Landolphis have been critically examined by us, and we have looked in vain for any similarity with a Guarnerius, even the outline is wholly different and though the sound-holes are sometimes pointed there is no absolute resemblance. There is generally, plenty of wood in the plates. Measurements of one dated 1750: -
Body length, 14 inches; upper bouts, 6-1/4; lower, 8-1/8; ribs, 1-1/8 to 1-3/16.
One dated 1760: -
Body length, 13-7/8 inches; ribs, 1-7/8; length from top of belly to the notch in sound hole, 7-5/8; scroll to button, 4-1/2.
One very fine example (dated 1752) was offered for sale at the flighty figure of 1,800 dollars in America, 1920. Formerly in the collection of Carl Zach (Viennese dealer) who exhibited it at the Musik Anstellung in Vienna, 1892. Perfect preservation, broad and flat model, strong in wood and a tone of beautiful richness.
Excellent violas frequently under the normal length. ’Cellos of handsomely marked wood, also a little under regular size. Broad and flat Stradivarian modelling. Light orange red varnish, rather lustrous.
---------------------------------------
Revisto dame Garlo Ferdinando
Landolphi, Anno 1744.
---------------------------------------
-------------------------------------------
Carolus Ferdinandus Landolphus
Fecit mediolani in Via S.Margaritae.
Anno, 1755.
--------------------------------------------
-------------------------------------------
Carlo Ferdinando Landolphi
nella Contrada di Santa Margarita
at segno della Sirena. Milano, 1758.
--------------------------------------------
Name sometimes given as Landulphus. £450 to £600, 1960.

LANDOLFI, PIETRO ANTONIOSon and successor of the preceding. Worked at Milan, 1775-1801. Instruments often praised for their tone, but we are inclined to assert that this is purely a fatuous doctrine that connoisseurs sometimes conceive towards anything coming from Italy. Whatever splendid guesses or intuitive convictions these philosophic individuals may be inspired with, they cannot surely ignore the uncultivated instincts and roughly unfinished workmanship of this Landolphi. Yellowish red varnish of little brilliance, opaque and dull, also impresses us with the fact that the dawn of his artistic horizon never arrived at any meridian. Amati outline, highly arched and longitudinally slim. Slightly pointed sound-holes. Deeply cut scroll and rather distinctive. £300, 1960.
-------------------------------
Pietro Antonio Figlio di
Carlo Fernando Landolfi
in Milano al Segno della
Serena. L’anno 1780.
-------------------------------

LANG, BENEDIKTWorked at Mittenwald, 1925. Specialist in making double basses.

LANGONET, ALFRED CHARLESBorn in London, 1917. Served his apprenticeship with father, Charles Frank, in the workshop of Messrs. W. E. Hill & Sons. After war service, 1939-1945, established his own business with father, in London. Won silver medal at Stradivari’s Commemoration Exposition at Cremona, and winner of British Violin Makers’ Exhibition in 1952. Excellent violins in every respect with fine tonal quality. Resident at Kilburn (London). First-class repairer, expert and dealer, renowned throughout the world, many of the valuable master instruments having passed through his hands.

LANGONET, CHARLES FRANCOISBorn 1861 in Mirecourt. Resident at Hanwell (England). Commenced violin making at a very early age and soon showed signs of becoming a very clever worker. It was whilst he was still an apprentice that J. B. Vuillaume, who was visiting his place of employment, remarked on examining his work - “This lad is a future Stradivarius”. At the age of 19 he met Alfred Hill who persuaded him to come to England, and here he worked for the late William E. Hill until he was 21 years old, returning then to France to do three years military service. He served in the 94th Regiment of Infantry stationed at Bar-le-Duc, and during this period, kept in touch with his work, often carving scrolls in his spare time, a section of the work at which he excelled. He played the clarinet in the Regimental Band. After completing his military service he returned to Messrs. W. E. Hill & Sons and remained in their service for over 48 years. During these many years hundreds of valuable violins, ’cellos and viols passed through his hands, and many men were trained under his supervision, including his own son. Besides being gifted in his art he had every opportunity of learning as his father was in the trade and many of his relatives; his brothers also were connected with violins. Emile, who died in 1925, was nearly all his life with Thibouville-Lamy, receiving a gold medal for long service some time before his death. Another brother, Louis, was a bow maker, and his youngest brother, Eugene, was in business at Nantes having previously been with Messrs. Hill & Sons, and Sylvestre of Paris.

LANGONET, CHARLES FRANKSon of preceding. Born in England, 1888. Served his apprenticeship in Mirecourt, and returned to London to work with Messrs. W. E. Hill & Sons. Served with this firm for 36 years and during that time restored many of the finest instruments in the world, also made many violins for Messrs. Hill’s. Established his own business in 1946 with his son Alfred Charles, and specialised in the restoration of fine instruments. Superb artist, held in much esteem here and abroad. Retired to Rottingdean, Sussex, where his advice and opinions on instruments is still sought by many (1960).
------------------------------------------
Made by Charles Frank Langonet
Employee of W. E. Hill & Sons
London. 1925
-----------------------------------------
(written)

LASSI, FRANCESCOBorn at Faenza, 1874. Did not study or work with any maker, but acquired necessary knowledge from careful measurements of valuable instruments. Produced first instrument in 1906. Completed about six yearly as time was largely occupied with repairing, an art which brought great local renown. Made about 400 up to 75th birthday. Followed the Stradivarian and Guarnerian in thicknesses and choice of wood, though occasionally departing from those standards when creating what he termed “his own design”. Attained particularly good results in tonal quality. Varnish varies from orange-yellow to reddish-brown. Some specimens have realised £100.
---------------------------
Francesco Lassi
fece in Faenza - 1922
---------------------------
-----------------------
Francesco Lassi
Faenza - An. 1949
-----------------------

LATTERELL, GEORGE H.Born in New York State, 1862. French descent. Amateur violinist from 13th year. Resident at Paynesville (Minnesota), 1925. Intelligently comprehended the authoritative hints in Heron Allen’s book; gathered information from studying master violins; produced first instrument in 1912. Satisfactory result; spent three years experimenting with old and new woods, models, archings, wood densities and graduation, ultimately found he had a strong foothold in constructive art. Held the firm opinion that the Cremonese used a treatment which they applied previously to varnishing their instruments, hence the sweet velvety tone. Produced over 160 first-class creations, Stradivarian modelling, very flat arching, workmanship very exact, yellow-brown varnish, and a tonal quality of refreshing clarity. Achieved excellent results with the application of Horvath’s Philamonia process.
-------------------------
No. 138 Made 1925
By G. H. Latterell
-------------------------
--------------------------
No. 153. Made 1927
A.P. U.S.A.
By Geo. H. Latterell
--------------------------
Both with G.H.L. wreathed.
His father, amateur violinist, also made a few violins.

LAUMANN, ROBERTBorn 1870. Pupil of Brückner. Established at Budapest, 1895-1928. Medals gained at Paris, Budapest, and Vienna. Careful modelling of the Stradivarius. Workmanship good, but without especial neatness. Yellow and red-brown varnish, rather supple. Often wide grain belly wood, and small figure maple. Responsive tonal quality, and fairly mellow for its age.
----------------------
Laumann Robert
Budapest, 18. .
----------------------

LAURENT, EMILE (PËRE)Born at Mirecourt, 1854. Apprenticed to Auguste Darte; worked for Joseph Hel at Lille. Established at Brussels, 1900. Died 1914. Produced a very large number of instruments. Well-nigh inimitable modelling after Stradivarius and Guarnerius. All details splendidly carried out. Oil varnish in shades of brownish red or golden-yellow, sometimes applied a little too thickly, also having a tendency to crackle. Tonal quality strong, and agreeable.
-------------------------------------------------------------------
Exposition Universelle, Liege 1905: Diplome d’honneur
Exposition Universelle, Bruxelles 1905: Médaille d’Or
Emile Laurent. Luthier
11 Rue de la Clé. 11
No. . . . Bruxelles 19. .
-------------------------------------------------------------------
Also one more oblong, similar wording, plain border, with a design of a violin and bow (over the scroll of which is the signature Emile Laurent), and reproductions of Exhibition medals. The above label has a pretty decorative border.
-----------------------------
Emile Laurent, Luthier
11 Rue de la Clé.
No. . . . Bruxelles 19. .
-----------------------------

LAURENT, EMILE (Junr.)Born at Mirecourt, 1875. Son and pupil of Emile; also worked for E. Germain. Established at Bordeaux, joined his brother Albert at Brussels, 1912-1924; moved to Paris, 1925. Medallist at Liege and Brussels. Instruments highly esteemed by professional violinists. Received numerous attestations of the strong tonal sonority and its “homogenous” timbre. Inspired modelling and imitations of the master instruments of Stradivarius, Guarnerius, Seraphino, and Guadagnini. Very effective oil varnish of different shades. One of his Guadagnini copies catalogued at 400 dollars in America, 1930.
----------------------------
Fait par Emile Laurent
à Bordeaux. L’an 19. .
----------------------------
(with signature)
----------------------------
Fait par Emile Laurent
à Paris l’an 1926
----------------------------
(with monogram)

LEEB, JOHANN GEORG (1)Born 1740. Worked at Pressburg until 1810. Much occupied, and recognised as one of the best Hungarian makers of his day. Early specimens somewhat partake of Stainer traits. Others of medium arching closely adhering to the Amati. Some also in the style of J. G. Thir. In every instance he introduced individuality though very slight. Plumpness of scroll always noticeable. Belly wood of good acoustical properties, backs and ribs mostly of unflamed material. Reddish-brown varnish thinly applied. Tonal quality seldom very mellow nor particularly brilliant, but of an agreeable sonority. £25 (1925).
-------------------------------
Johann Georg Leeb
in Pressburg, Anno 1788
-------------------------------
Some labels have Joannes Giorgius etc. £80, 1960.

LEEB, JOHANN GEORG (2)Born 1779. Worked at Pressburg. Died 1817. Son and successor of the preceding. Generally Amatese modelling, but also some very flat and broad. Dark and light-brown shades of varnish. Scrolls also strikingly plump. £20 (1925). Very industrious, made a very large number of instruments. £70, 1960.
-----------------------------
Joannes Georgius Leeb
fecit Posonii. 1813
-----------------------------

LEICHT, MAXBow-maker at Hohendorf, 1910-1930. £10 to £15, 1960.

LEIDOLFF, JOHANN CHRISTOPHBorn 1690. Died 1758. Son of Nicolaus. Worked at Vienna. Instrument maker to the Viennese Court. Exaggerated. Stainer model arousing no specially new impression by any outstanding beauty. Angular outline, very deep ribs, and altogether over-arched. Whole contour attains no grandeur. Scroll carved and poised in the typical Viennese style. Sometimes of pear-tree wood. Sound-holes do not seem to be designed for complete harmony with the arching though carefully done. Purfling and edges faultlessly neat. Good acoustical wood for belly, sometimes emphasised by. exceptionally close grained material, and often nicely figured maple for backs. Harder wood occasionally used for sides and linings. Early dated instruments varnished dark brown of pretty tint. Later he applied one of reddish colour, and occasionally a yellow-brown very transparent. Made many examples and worked right up to the year of death. Tone certainly not powerful, but satisfactorily pure. Not wonderfully mellow yet of flute-like quality. £40 (1925). Also made a few which somewhat follow the Amati model. Nice instruments with much of the former exaggeration subdued, and certainly more graceful.
---------------------------------
Johann Christoph Leidolff
Lauten und Geigenmacher
in Wienn 1757
---------------------------------
(German lettering, others in bold Gothic lettering)
----------------------------
Joannes Christophorus
Leidolff fecit
Viennae. 1748
----------------------------
Name sometimes given as “Leydolff”. £90, 1960.

LEIDOLFF, JOSEPH FERDINANDWorked at Vienna, 1756-1780. Large and well developed model, Amatese outline, medium arching, altogether more elegant in design than any of Johann Christoph. Very occasionally he built on the Stainer model. Workmanship well sustained in neatness. Wood happily chosen, often handsome figured backs. Variegated varnishes, his worst instruments have a very dark concoction impregnated with aloes, others have an ordinary brown, but his favoured specimens have a finely transparent reddish-yellow, or a deep mahogany colour with rose tint showing through. Tonal quality fairly large but not of lofty beauty. Built several violins of high modelling and rather small proportions, body-length a trifle less than 15 inches. Broad flame backs, rich dark red-brown varnish, ideal chamber music tone. £50, 1925. £125, 1960
---------------------------
Josephus Ferdinandus
Leidolff, fecit
Viennae. 1769
---------------------------
(large lettering)
--------------------------------------
Josephus Ferdinandus Leidolff
Lauten und Geigenmacher
in Wien 17-
--------------------------------------
(German lettering)
-----------------------------
Joseph Leidolff Lauten
und Geigenmacher in
Wien 17-
-----------------------------
Some instruments anti-dated 1727, etc.

LE JEUNE, FRANÇOISWorked at Paris, 1740-1780. Named his shop “At the Royal Harp”. Dean of the Luthiers’ Guild, 1765. Early dated violins rather esteemed by collectors. Modelling rather long and somewhat slender. Long Brescian type of sound-holes. Scroll also of long slender pattern with small volute. Beautiful golden amber varnish. Generally two-piece backs, the grain showing in wide lines. Tonal quality particularly sweet though perhaps small. Later dated instruments of more variable order in the matter of design and workmanship, some quite ordinary. Light yellow varnish not of the best quality. Also produced many excellent violas (body length, 15-7/16 inches) and five-stringed viols. Particularly celebrated for fine harps.
-----------------------------------
François Le Jeune rue de la
Juiverie, à Paris, année 1750
-----------------------------------
Some labels have the design of a harp over his name. £80, 1960.

LEMARQUIS, JEAN BAPTISTEBorn 1730. Worked at Mirecourt. Died 1775. Rather broad modelling, yellow brown varnish.
-----------------------
Lemarquis de l’air
d’oiseau. anno-
-----------------------
Also branded “Lemarquis”. Label and brand subsequently used by Claudot and other French makers.

LEMBÖCK, GABRIELBorn at Ofen (Budapest), 1814. Pupil of Peter Teufelsdorfer. Worked for Fischer at Vienna. Set up own premises which he called “At the Golden Eagle”, 1840. Received an appointment to the Imperial Court. Died 1892. Won medals at Munich (1854) and London (1862). Instruments finely patterned on the models of Stradivarius, Guarnerius and Maggini. Especially splendid copies of Paganini’s Guarnerius violin, which he had got to thoroughly know by having several times to repair it. Tonal quality frequently of refreshing fullness and gratifying responsiveness. Various shades of varnish from yellow to red brown, transparent but somewhat glassy. Wood always carefully selected, backs of the prettiest flame, some instruments have bellies of cedar wood. Also made varied experiments in the length of the bass bar. Also violins of Guarnerian modelling, golden red brown varnish. £90, 1960.
------------------------
Gabrielis Lemböck
Vienna Anno 1846
------------------------
--------------------------------------------------
Gabriel Lemböck fecit secundum
Josephi Guarneri Cremonensis originale
ex Nicolai Paganini Concertuosa Violina,
Viennae Anno 1852. I.H.S.
--------------------------------------------------
----------------------------------------------
Gabriel Lembock
K.K. Hof-Instrumentenmacher. 1863
----------------------------------------------
Some labels have designs of medals. G.L. branded on tail pin and button.

LENOBLE, AUGUSTEBorn at Mirecourt, 1828. Apprenticed to Peccatte. Worked for J. B. Vuillaume. Opened own atelier at Paris, 1862. Died 1895. Bows of very skilful manipulation but generally too heavy for soloists, usually dark sticks. Stamped “Lenoble” or “Lenoble à Paris”. £25, 1960.

LEPILEUR, PIERREWorked at Paris; 1725-1760. Obtained certain privileges through being associated with the Abbaye Saint-Germain, which exempted him from taxes as well as being free of the expensive ceremony conditioned by being received into the Corporation of Instrument makers.
Instruments rather alienated from the canons of good taste. Where one specimen might please, ten will have the opposite effect. Long model, workmanship not nicely consummated. Brown varnish of repellant shade. ’Cellos of far superior style, generally handsomely wooded, orange-red varnish.
---------------------------------------------
Pierre Le Pileur, priviléiez du Roy
dans l’abbaye Saint-Germain à Paris
1754
--------------------------------------------
Also styled himself “Pietro Le Pilieri”.

LEWIS, WILLIAM & SONEstablished at Chicago (U.S.A.), 1874. Employ a large number of first class luthiers. Specialise in rare violins and expert restorations. President: Mr. R. Olson; Chief Executives - Mr. Carl Becker, and son, and Mr. H. Benson. Publishers of “Violins & Violinists”, etc. Many of the famous instruments now in America have passed through this well known Violin House with a great reputation.

L’HUMBERTsee HUMBERT.

LIESSEM, REMERUSWorked in London, 1730-1760. Made lutes and cithers. Violins invariably of small proportions. Body length generally 13-1/8 inches. Good outline, graceful but never robust. Short sound-holes but do not seem to be out of size, rather straight stem, not graceful, only 2-3/4 inches from each other across the middle. Beautifully neat scroll with a fascinating bottom turn. Wood for top frequently has an unusual feather figure. Very close flamed material for the back which, with the hard and thin yellow (not very light) varnish gives the appearance of a rather common type of instrument, but the workmanship counteracts all this. Very nicely inlaid purfiing. ’Cello of his (dated 1753) was catalogued at £65, 1924. £125, 1960.
----------------------
Remerus Liessem
London 1735
----------------------
One violin known to be labelled: -
-----------------------
Reinerus Liessem
fecit Vienna, 1743
-----------------------

LIPPOLD, JOHAN GEORGBorn 1739. Worked at Markneukirchen. Died 1824. Nothing especially distinctive in the contour (flat model), but the yellow-brown or cherry-brown varnish has a superior look to any used by his contemporaries. Supposed to have visited Cremona and found the recipe there. Backs generally of small flame material, although some are quite plain, fine grain belly wood. £90, 1960.
-------------------------------------------
Johann Georg Lippold
musikalischer Instrumentenmacher
Neukirchen bey Adorf 1807
-------------------------------------------

LONGIARU, GIOVANNIBorn at Pozzale di Cadore (Italy), 1886. Pupil (in woodwork) of Gottardo at Venice, and (in violin making) of Pezzoni at Cremona. Repairer to the Conservatoire, Venice, where he also studied violin playing and became quite proficient. Went to New York, 1903. Produced about 270 violins up to year 1948. Also violas, ’cellos and double basses. No adherence to any particular model, but rather favoured the Guarnerius. Workmanship distinguished in a pre-eminent degree, specially refined finish of the inner edges of the sound-holes. Used finest Italian woods, and worked most assiduously to the attunement of the plates. Golden red varnish made from a special preparation, claimed to be “Cremonensis secundus”. Rich in tonal quality. These gems are glorious witnesses of the powers of a great master, instruments to win imperishable renown, a great joy to all succeeding ages and to all soloists. Also produced perfect replicas of the various masterpieces. Renowned for restoring and perfecting the tone of old instruments by what he termed the “Longiarised Process”, which included special treatment and position of the bass bar. Considerable productivity of bows in early years.
-------------------------
Giovanni Longiaru
Venice - New York
A.D. 1926. No. 125
-------------------------
Signed “Giovanni Longiaru” between second and third lines. Also bearing the design of violin surmounted on a fancifully shaped lyre with -
-------------------------------
G L
i o
o n
v g
a i
n a
n r
i u
Sempre lo Spirito elevhto
-------------------------------

LONGMAN AND BRODERIPInstrument dealers in Cheapside (London), 1741-1798. Bought all sorts of instruments, and put in their trade label. Many of the better instruments sold by them (also labelled), as made by them, were really the work of Benjamin Banks or Jay. These are usually of the Amati type, medium high arching, handsomely flamed maple and brown varnish. Tone always mellow and nicely full. Other specimens either branded or labelled, have a commoner appearance. Sometimes the name appears as Longman and Lukey.
---------------------------
Longman & Broderip
No. 26 Cheapside
No. 13 Hay-Market
London
---------------------------
(square lettering)
Violas stamped with these names were made by Joseph Hill. Body length l5-1/4 inches.

LOTT, JOHN FREDERICK (1)Born in Germany, 1775. Came to London and was employed as a chair maker. Eventually formed a friendship with Fendt, who persuaded him to become a permanent member of Thomas Dodd’s workshop, 1798. Later established own place of business in King Street, Seven Dials. Died 1853. Especially famed for double basses. Called the King of English makers in this respect. Modelling of fine contour and proportions. Style resembling and equal to that of the best Italian, many being re-labelled with Italian names. Backs almost of the flat pattern. Felt the indispensable obligation of turning out only the most finished workmanship both externally and internally. Bestowed equal vigilance in preserving all the recognised beauties of a scroll. As a man of sense he made use of all the well-known principles of securing, preserving and prolonging the tone of his instruments by not stinting the quantity of wood but though of very substantial build, he was far too astute to overdo any of the thicknesses. Tonal quality particularly sonorous and flexible. ’Cellos built on Stradivarian principles with apersonality exempting them from absolute copies. Tonal quality of Italian richness. Violas usually 15-1/4 inches body length. Also a fair productivity in violins. Splendid Stradivarian modelling, finished workmanship and of fine acoustical woods. Necessary concomitant of fine quality varnish sometimes missing and perhaps accounts for the comparatively small price his productions have realised. £150, 1960.
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J. F. Lott, maker, London.
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Many have the label of Thomas Dodd.

LOTT, JOHN FREDERICK (2)Second son of the preceding. Born in London, 1805. Taught by father and became efficient with the management of tools before his 15th year Apprenticed to Davis in Coventry Street. Studied the violin and played in theatre orchestras. Had a roaming and restless disposition. Accepted an engagement with a travelling circus, his duties consisting of looking after the elephants during the day and playing in the band at performances. Went to America, ultimately became manager of the circus and as quickly relinquished the position, henceforth never to resume it.Met a chemist in the United States from whom he learnt a few “secrets” in varnish and varnishing. Returned to England and seriously began his career as a violin maker. Established at 60 Wardour Street, London, and soon attained a splendid reputation. Became acquainted with the violin connoisseur and enthusiast Charles Reade, who subsequently in his fine novel Jack of all Trades, made Lott the hero and portrayed his restless genius in many real and fancied adventures. Vuillaume occasionally employed him for certain delicate bits of restoration, also acted as interpreter for the famous Frenchman when visiting this country. Many amateurs flocked to his shop and spent agreeable hours in his company, and never came away without adding a little to their knowledge. Ever ready to help the young and struggling, his criticism and judgment ever their command, and several subsequently well established makers spoke with the utmost gratitude of the counsel and direction they had received from him. Died 1871. He had an ingenious spirit actuated by a generous emulation in the pursuit of cunning reproductions of the Guarnerius model (with its attendant “wear” and usage) to such a degree that his instruments have frequently been mistaken for genuine Cremonas. This facsimile artistry was his special line and no Englishman has ever surpassed him. Connoisseurs often compared him favourably with Vuillatime and could not prescribe any boundary to his wonderful proficiency. Gave every attention to the quality of woods, exactly chose the same grain and figure as that of the prototype he imitated. Achieved remarkable results in tonal quality. Bergonzi-like instruments (very scarce) equally as fine in their extraordinary similarity to that maker’s traits. Tonal quality invigorating and healthy. Also produced fine Stradivarius replicas, superior in tone and workmanship to those of many well-known French copyists including Pique. His powers of imitative varnishing in thickness, colour and shading were truly marvellous. His assiduity of application in the matter of fusing amber is well known and for this purpose he invented special machinery. The importance of putting oil on the wood previous to any colour seems to have been his regular practice, for he never applied anything but amber varnish for the first coat. Some instruments have a brittle and chippy varnish but generally it is a composition of splendid texture, elastic, brilliant and rich in colour. Shades vary from brown, dark orange to a deep red. It is reported that he varnished a violin and ’cello with “dragon’s blood”, a gum, rather a tedious undertaking to find sufficient perfectly clear pieces. Produced a few wonderfully toned violas, modelled on Guarnerius style, with a particularly rich red varnish. Also a few ’cellos known. Edward Withers (Wardour Street) possessed a very beautiful quartet of Lott, violin, viola, ’cello and double bass (the only example he made). Finally, his Guarnerius replicas are gems of art, such as are very rarely seen and no player should permit such a treasure to pass out of his hands. Regrettable that Lott seldom labelled his instruments. £250, 1960.
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J. F. Lott
London
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LOWENTHAL, LOUIS (LOWENDALL OR LOWENDAHL)Established as a musical instrument manufacturer in Berlin, 1866. Born 1836, son of a draper in a small provincial town of Northern Prussia. When about seven years of age, displayed considerable talent for music and even at that early age he constructed a violin according to his own ideas namely, from an unplaned wooden board making the neck, pegs, etc., from similar material. The strings he made from strong cotton thread, the bow as best he could, securing a supply of hair from the tails of horses in the street. His father discovering his son’s love for the violin bought him a real fiddle, an instrument of reddish tint, sounding very harsh. Commenced his musical studies in earnest in 13th year at Königsberg High School, and in 19th year was an efficient performer on the ’cello. At Leipzig, he became acquainted with the renowned instrument maker Bansch and, later, at Berlin he connected the well-known violin bow maker Heinrich Knopf, under both of whom he took the opportunity of studying violin and bow making. Opened a retail music shop in Berlin in 1855, and from that time the business expanded. Manufactured a large number of the musical instruments he sold and the business grew and prospered. In 1867 he went to the United States and set up in business. His very valuable stock of old violin wood and musical instruments, especially a fine collection of about 60 genuine old violins, soon became known among musical circles and created a sensation as many of the instruments were very costly. One of his friends and customers was George Gemunder the violin maker, who bought some of his most beautiful wood and many valuable instruments. He soon became aware that his German-spelled name was pronounced by his new American friends differently from the original and accustomed sound, so he changed it to the English version, Lowendall. After six years he returned to Europe and devoted himself to collecting on a large scale, old Italian violins which he sold very profitably in America which he visited at regular intervals. In 1873 he lived in Dresden for a short spell and in the following year visited England for the first time, and stayed for about six weeks doing very good business. For the next five years he went annually to America and in 1878 made the acquaintance of ‘Ole Bull in St. Louis who permitted him to take a copy of his famous grand concert violin which he was playing there at the time. The copy of this instrument became known as “Lowendall’s ’Ole Bull”. He thereafter divided his time between America and England, having enormous success in both countries. Awarded a silver medal at the London Inventions Exhibition and a similar one at Bologna, Italy, for a fine display of his excellent violins. In 1889 he bought a spacious four-storey building at 121 Reichenbergerstrasse, Berlin, and employed many skilled workmen.
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L. Lowendahl
1880
Dresden
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(branded on wood where label usually lies)
Strad modelling, finely shaped sound-holes, nice golden red varnish. Scroll of rather weak appearance because of rather deeper cutting towards throat. Tone loud, sometimes even harsh. Patented a “resonator bar for stringed instruments” in 1900. £45, 1960.

LUPOT, FRANÇOIS (1)Son of Laurent. Born at Plombières, 1725. First worked with father at Lunéville, 1746-1754. Appointed violin maker to the Duke of Würtemberg at Stuttgart, 1754-1768. Worked at Orleans, 1770, and at Paris, 1794. Died 1804. Claimed to have been a pupil of Guarnerius but the various dates of the two men prove the assertion to be a little bit of boasting on his part or fictitious imagination of some writers. This well accomplished man (superior to either Laurent or Jean but outclassed by his son) made several violins of uncommon merit which are yearly becoming highly valued by those who cannot afford the 400 pounds and upwards specimens by the old Italian makers. Broad pattern, perhaps to be slightly censored as being a little stiff; but the fullness of the tone excuses this and gives the greater reason for the growing popularity of the instruments. No remarkable invention of ingenious cutting in the matter of the scroll and sound-holes but his resources enabled him to bestow considerable polish of art on them. We cannot, however, expatiate so approvingly on the poor virtues of the dark brown varnish which is sometimes rather transparent on the back but very muddy on the front. Violin (dated Orleans, 1771), exhibited at Paris, 1900, sculptured head, artistic inlays on corners and ribs.
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françois lupot lutier
a luneville 1747
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(written)
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Francois Lupot, Luthier de
la coure de Wirtenbergt
à Stoutgard l’anno 1767
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(note the curious spelling)
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Francisco Lupot fecit
in Orleans, anno 1775
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(strikingly pretty border)
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Francisco Lupot fecit
In Orleano, anno 1772
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Name generally branded under the button. £300, 1960.

LUPOT, FRANÇOIS (2)Son of the preceding. Born at Orleans, 1774. Worked at Paris, 1797-1837. Made a good number of instruments in early days at Orleans and Paris, showing that he was equally destitute of real delicacy as having no adequate idea of the dignity and comparative perfection of what a violin should be. Label states he was a pupil of Stradivari, a poor attempt at deception for everybody has known that the Cremonese maker died about 36 years before Lupot’s birth.
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François Lupot, Luthier
Elève de Antonius Stradivarius
Rue de Gramont à Paris l’an 1798
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About 1815 be seems to have realised his non-success at violin making and renounced it in favour of making bows. Ascended out of the pit of former carelessness and put his heart and pride of work into copying the principles of Tourte, thereby bringing around him an influential phalanx of purchasers who eventually circulated his bows around Europe. Invented the “coulisse” or metal groove attached to the nut and carefully fitted to the stick on which it works, a very sensible notion and one since adopted by every other maker. Many of his bows (particularly those with octagonal sticks) have inherited all the vivacity, strength and elasticity of genius; but others show that occasionally he descended into his slip shod habits. These are clumsy looking things of little use. Design of his bows differ considerably. Heads of finest specimens not so broad as those of a Tourte or any famous makers perhaps excepting Tubbs. Top gradient has a quicker descent than the Tourte, Voirin or Dodd, and the front part (where the ivory is) has a more decided slant. Poise of this head seems to give strength and equilibrium without using too much material. Some have no stamp, others stamped “Lupot” in three places (third place found under the lapping). One of the infallible signs of a genuine Lupot is the “full-stop” after name, a trait not generally noticed. Many manufacturers of trade bows brand the name Lupot, so it behoves us to remember how to detect the guaranteed article. £20 to £30, 1960.

LUPOT, NICOLASSon of François (1). Born at Stuttgart, 1758. Commenced his art study under father at Orleans, 1768. Resided there until 1794, then went to Paris. Whilst at Orleans he was (in 1792) commissioned by Pique (celebrated Parisian maker at that time) to supply regularly a certain number of violins “in the white” at the rate of 30 francs each. Established a workshop at Paris, 1798, and soon made remarkably headway as a maker and repairer. Appointed violin maker to the king, 1815, and to the Conservatoire, 1816. This latter post involved the furnishing (on the demand of Gaviniés) of all violins and ’cellos given to the first-prize winners. Ordered by Louis XVIII to make an orchestra of stringed instruments which were embellished with Arms of France. Ambitiously undertook (in 1820) to replace all the imstruments of the royal orchestra with new ones of his own make, but death in 1824 prevented him from entirely fulfilling his plan. C. F. Gand (his son-in-law and successor) was commissioned to complete the transaction. Greatest of all French makers and exercised remarkable influence on contemporaries and all those of later generations. Frequently received the title of “The French Stradivarius”. In Mirecourt there is a street named after him. He had great variety of style. Some of those made at Orleans when compared with those produced at Paris, seem to be as though from a different hand. Modelling (except a few after Guarnerius and Amati) always after that of Stradivarius and he imitated that genius more minutely than anybody else had or has ever done. His great aim in life was to be a second Stradivarius and he put all his enthusiasm and talent to that purpose. At the same time he was not bound by a servile adherance to an undeviating plan of adopting one model but preferred to be cosmopolitan and built his violins on all the Stradivarius models. This is why there is such a refreshing variety in his productions some of broad proportions, others more normal and some under the recognised full sizes as well as a few of long pattern. Perfect replicas in shape and measurement, and he wisely refrained from giving his instruments an old-looking appearance. It is asserted that every instrument bearing his name was entirely made by his own hands and deservedly he became the greatest French genius. Look at the perfection of his aggregate and we find a prevailing harmony accompanying the whole structure which imparts a mutual lustre. Always put plenty of wood in his instruments and constructed them very solidly, a fine feeling of strength which he seldom carried too far. Workmanship generally beautifully finished. Scrolls absolute wonders of Stradivarian poises and of superlatively quick and certain carving. Margins always particularly strong and full. Early violins generally with light yellow or a dull brown varnish, the latter looking rather well now that some of it has worn away but sometimes the texture varies and occasionally it is somewhat scaly, peels off rather freely, other times becomes cracked and lumpy-looking and never particularly brilliant. There are, however, a few of his Orleans fiddles which have the front covered with the lovelist ruby tinted varnish imaginable. Exquisitely shaded and equal to anything on the Cremonese instruments. These examples are of the smaller Stradivarian modelling and of perfect workmanship particularly the scroll. Not a robust tone but of Italian quality, not big under the ear (like so many French violins) but very penetrating and silvery. Ideal instruments for quartet playing. Most beautifully marked woods, the backs being a gorgeous picture with a lovely dark yellow varnish in the centre, graduating to a deep ruby red in the hollows. Parisian specimens covered with a variety of colours from brown through orange to red. Texture of this varnish is much finer than that on the majority of those of early date, more lustrous and stands the wear better. Instruments varnished with red on orange background are considered to be his finest toned. These are generally of the large proportioned pattern. The mahogany tinted also belong to his best period, from 1805 onwards. Some almost vividly scarlet, a shade that frequently causes the eyes to blink. Others covered with a very dark red varnish very thickly applied. Guarnerius modelled instruments (rare) noteworthy for the fine positioning and accurate design of the sound-holes. Orleans examples catalogued at £100 (1925), but Parisian ones reached £400 (1928). What a gorgeous tone some of the latter have! No fiddle, unless it be a Joseph Guarnerius, can fulfil the demands of the modern soloist in the performance of the heavily scored modern concertos so easily as a Lupot can. Some writers have stated that he repeatedly used whalebone for purfling, but surely “repeatedly” is wrong, as so many experts have failed to notify the fact. Personally we have never seen it on a Lupot. Made quintets of instruments (two violins, two violas and one ’cello) which he endeavoured to give appearance and quality of tone similar to each other. Naturally, the presentday value is very high and reaches four figures. Violas and ’cellos (particularly the latter) belong to the “nobility” of their kind and their “aristocratic” contour is never disputed. Violins won yearly by the Conservatoire students are now much sought after. They are distinguished by inscriptions on the sides, gold letters attesting the fact and giving the name of the prize winner, also on the back is a beautiful design of the Royal Emblem.
Measurements of one dated 1816:
Body length: 14-1/8 in.; upper bouts 6-5/8; lower 8-1/8; ribs 1-1/4; thickness of back exactly 3/16; shading off to 3/32. Large linings, finely rounded to a feather edge; corner blocks splendidly constructed, end blocks similarly perfect.
Especially fine specimen, dated 1822, with gorgeous red varnish, offered for sale at 4,000 dollars by Lewis & Sons of Chicago, 1949.
’Cello of Guarnerian modelling: body length 74 cm; upper bouts 32-1/2; middle 23; lower 43.3.
Also made viols, often richly ornamented. One dated 1817, exhibited at Paris, 1900, paintings of butterflies and birds on the breast, one-piece back with figures of Apollo, Orpheus, Terpsichore and Love. Sides painted azure, golden inscription on waist curves, sculptured head of a girl with turban and crescent of pearls, six sympathetic strings.
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1786 rue d’illiers
à Orleans
N.Lupot fil luthier
fecit
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(with scrolled circular design)
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Nicolaus Lupot filius
fecit in Aurelianensis anno 1776
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N. Lupot Fils, Lutheir
rue d’Illiers, à Orleans. L’An. 1790
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Some of these early dated instruments are branded in two places.
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Nicolas Lupot, Luthier rue de
Grammont; à Paris l’an 1798
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Nicolas Lupot, Luthier rue Croix
des petits-Champs, à Paris, l’an 1815
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N. Lupot. Luthier de la musique du Roi
et de l’Ecole Royale de Musique
Paris, 1820
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Last three labels have a circled monogram in the right-hand corner. Many instruments signed with his autograph. Sometimes branded
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N. Lupot
à Paris
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on the belly.
The artist violin maker and repairer in his workshop, with a mind devoted to his employment is perhaps the most enviable of human beings. His is not the pleasure derived from a transient glance at beautiful instruments, sometimes forgotten almost as soon as felt but the deep and joyous swell of the heart exulting in the loveliness of the entire world of violins. He looks around him as if all of them were made for his delight. He is thus, more than Lord of all he surveys, for he is able to repeatedly enjoy and blend himself with every different specimen presented to his observation. Look at the innumerable number of valuable instruments that are entrusted to his skill; think of the scores of fine fiddles he has for sale. It is no wonder he is more sensible of their different beauties and derives more pleasure from the contemplation of them, than the casual purchaser or the private collector of but a few. He has learned to understand them and to treasure the various degrees and ages of art as they unfold, his own workmanship and ideas take their expression from this universal source. There is a consciousness also of intellectual power, of a high and creative faculty, evinced in the operation of his art, the ideal beauty of images and impressions, derived from a hundred various sources, become fixed and amalgamated into a creation of his own, and he feels in himself the power of a mighty magician, who can raise, by his potent spell, instruments of the fairest and finest proportions. Is it not wonderful therefore, that we should have had instances of violin makers so devoted to their profession that neither the calls of pleasure nor the decline of health, could prevent their exercising of it under the most difficult circumstances, for an artist to give up his most fascinating skill is like Prospero breaking his wand and buying his book under the waters of the ocean. Much of this enthusiasm and this kind of feeling is also requisite to enable us to enter into the full enjoyment of his productions, for if
“A perfect judge will read each work of wit
With the same spirit that its author writ”
a true lover of violins will bring the same feelings to the contemplation of the instrument as did the maker in the construction of it. It is in the liveliness of the impression that is made and in the vividness of the ideas that are excited, that we see the merit of the production and the power of the art. We want all violinists to share these feelings with us in the appreciation of the Nicolas Lupot violins. Were the pleasure derived only aroused by the power or accuracy of his imitation of the Strad pattern we should not expect from other violinists the full meed of approbation which we possess for these fine instruments, but it is the “poetry” and brilliance that this Frenchman gave to the art that should appeal to all persons of taste, to all not prejudiced, to all not solely in favour of Italian instruments, to all who desire not to be termed bigots. Lupot added that, grace which exists independantly and beyond the reach of mere mechanism, and which for us is the distinction between the conceptions of genius and the productions of commonplace imitators of Italian models. These fiddles arrest and fix the attention of all whose eyes have been quickened by the broadmindedness of universality. How many varied sensations of delight are blended together in viewing a Lupot! What a feeling of contented satisfaction comes over the senses when the soloist wants to give expression to all the most beautiful elements of his playing! These violins respond to any touch, forcible or caressing. They cause the artist to forget everything but the charm of his performance. The writer has a passionate attachment for Lupot violins, but this attachment is by no means singular. Spohr was also captivated and at times gave preference to his Lupot thereby neglecting his equally beautiful Guarnerius and Stradivarius. Remenyi was so smitten with his specimen that he saluted it with the tender names of his love, his darling and his goddess. Other wellknown virtuosi have published many eulogistic paragraphs about their partiality for a Lupot. We pity all players who cannot, or will not, see the many beauties and splendid utility of these instruments. We all have faculties to perceive beauty, and as a Lupot has beauty to be perceived it is sheer stupidity, ingratitude, and silly prcjudice that prevents absolute admiration. Now, violinists, throw away from you this aversion to French instruments. Take up a Lupot with a free mind and if you ever do associate the idea of strength with grace, you will be enamoured with the ‘tout ensemble”. £600 to £850, 1960.

LUTZ, IGNAZ (1)Born at Schönbach, 1843. Worked at Vienna, 1868. Maker to the Court. Died 1907. Splendid violins of refined workmanship.

LUTZ, IGNAZ ANTONBorn in Vienna, 1881. Son and pupil of preceding. Worked in father’s business and finished his apprenticeship by working under the auspices of the best luthiers in Vienna, Berlin, Paris and London. Very adept worker. Went to the U.S.A. and whilst there repaired many of the finest violins. Had a true artists eye for colour and artistic shading and re-discovered the methods used by the old masters in producing in new violins the so-called “Cremona tone”. Many well-known violinists who had the opportunity of playing on his instruments, among them were Fritz Kreisler, Zimbalist, Spalding, Enesco, Carl Flesch and many others, all agreed that his creations were on par with those of the best Cremona masters. His secret of the lacquer and “filler” he used, died with him. The colours he used are stable and do not fade, neither does sunlight affect them. Was fortunate in owning a fine toned Stradivarius violin made in the year 1726, and this he used as a model, both for shape and tone. Plentifully wooded, very rich tone. Used only the choicest wood. Died in 1927. One of his most well-known instruments was made in 1921, perfect copy - colour, shape, varnish of the famous “Ehrich” Stradivarius. £100, 1960.
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Ignaz Lutz
San Francisco, Cal. 19
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